None of the paintings was politically revolutionary or propagandistic, and none held out the possibility for a better way of life: Rather, they defined Cadmus's outlook as libertarian, antiestablishment, and (implicitly) moralist, despite his (supposedly amoral) sexuality.

Unwilling to go the route of either the ruling gallery system or the preexisting alternative-space/public-funding structures, a systematic antiestablishment spirit forced the scene so far to the margins of political discourse that it found itself outside the nurturing bounds of right and left alike.

Spaces like Galeria del Progreso, El Cruce (The cross), founded by painter Manolo Quejido, and El Ojo Atomico (The atomic eye), an industrial nave that closed its doors in May to reexamine its priorities, tend to wear their antiestablishment positions on their sleeves, though one sometimes gets the impression that some of this is du to sheer frustration, since the decline of the art market has eliminated many o the channels for disseminating new work.

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